Despite mixed responses, comedies have always been a hot-favorite genre with all breed of filmmakers these days. TOH BAAT PAKKI, a spicy comical flick about matrimonial predicaments is the latest in this genre with the talented Tabu as its lead protagonist. After the surprise success of CHEENI KUM, she dons another peppery caricature of ''match-maker'' along with a spirited Sharman Joshi and promising Vatsal Seth and Yuvika Choudhry in the lead characters. Following the decent success of albums like JUST MARRIED, Pritam gets another family entertainer to his kitty with music that promises all fun and hilarity in its expressions. To make it more audible for its quirky comical feel, there is a line up of lyricists like Sayeed Qadri, Mayur Puri and Shabbir Ahmed to offer their expertise. Spicy, funky and off course ''all fun and no brains'' type of entertainment is out there, can this be another DE DANA DAN or AJAB PREM KI GHAZAB KAHANI in the making? Let's do all the ''baat'' (talking) for its musical contents...
Bouncy, hilarious and befitting to the situational decor, the introductory track ''Jis Din'' by Mika Singh makes it clear that this is matrimonial comical ammunition that is going to explode with a bang. Pritam's enthused ''dhol-dhamaka'' in ceremonial congeniality packs some really cool hilarious punches to make it entertaining fair. Like frivolously peppy 90's track ''O Mummy Mummy (DEEWANA MASTANA -1997), it jesters out the anxious sentiments of ''wanna-be-bridegroom'' in quick-wittedly punched one-liners. Mayur Puri's lyrics are enterprising, music is enthralling and so are the joyous vocals that suit the comical situation. If delivered with ample spicy cinematic treat, this can be thriving narrative factor for the flick. Go for it!!!
Soft rock melody hits the acme with album's most promising track ''Phir Se'', a lovable male solo track that brings forth two singing geniuses (Sonu Nigam and Rahat Fateh Ali Khan) in two different versions. It initiates well with exuberance of electric guitar rhythmic flows as prelude with Sonu Nigam's scintillating voice setting mood mushier in his modulating tones. Pritam's somber composition keeps the tempo moderate with varying soft-rock arrangements mixing well with heart piercing vocals. In the middle interludes, there is sudden splurge of vocals reaching higher octaves with fine control over ''alaap'' recital, giving it a semi-classical impressive appeal. The linguistically profound verses (''Kissi Ke Tassuvur Mein, Ab Din Kat ta hai...'') and prosaic lyrical flows by Sayeed Quadri catalyze the sensitive emotions and prove to be credible asset. Rahat Fateh Ali Khan sings the second version with similar melodic backdrop and adds one more gem to album's credit. Pritam feels great about this track and so the third version comes as predictable ''club-remix'' version. Against its soothing overtones, this one changes mood completely with contemporary gyrating cum pulsating disco beat fillers that is matched with beat-juggling electronic thumps to make equanimity of palatable emotions with Sonu's voice. Worth-hearing!!!
Heavy duty ''bhangra'' buzz comes out with volcanic eruption in commotion of vociferous thrives of Jassi, Indee, Javed Ali and Shilpa Rao with bombastic arrangements taking over grooves in ''Dil Le Jaa''. This ''bhangra-beat'' cultured track is loquaciously crooned by Indi-Pop sensation Jassi and Javed Ali and gets energized well with feminine touches of Shilpa Rao. The crazy emceeing in English ''n'' Punjabi by Indee adds spicy flavor that gives it a catchy rhythmic feel. The pomp of ceremonial feel is immense and it gives party DJ's something extra to deliver.
''Dil Le Jaa (remix)'' is the finest of all remix versions with DJ's aesthetics working in tandem to the frivolous ''bhangra-beat'' patterns. This one has got the ballistic racy ire in its DJ spins, claps that matches beat-to-beat with frenzied emceeing and electronically punched fillers. Enthralling!!!
The famous and likable rock feel of ''Band Metro'' brings the vocalist in Pritam as he croons loud and high in effervescently peppy ''Karle Mujhse Pyar''. It was last time in ''Kar Salaam'' (LIFE IN A METRO) that made him audible and this one is intrinsically metal rock number with ''feel-good'' lyrics. Soham and Rana are the two added zesty voices to support but its masterly stringed electric guitar works (jamming, strumming, and riffing) along with enthralling percussions that gives it the finer edges. For its thrilling textures and euphoric rocking feel, one can assume this to be sprightly pitched background score in the emotionally turbulent phases of the flick.
The euphoria of ''rockstar'' contorts to disco beat culture in its ''club-remix'' version with contemporary funky electronic beats juggling with brawny vocals. It fails to be as enthralling as its original ''rock'' version and sounds more like filler substance in the packaging. Rocking!!!
Divinity in the form of traditional prayer ''Aarti (traditional)'' ends up proceedings in sweet ''n'' subtle tones of Antara Mitra. It's beautifully recited (the customary ''Om Jai Jagdish Hare'') in unplugged mode with soft chimes sounds adding to the feel.
TOH BAAT PAKKI is a sweet surprise of its kind with no space for mediocrity or loose ends in its entire packaging. Pritam has proved his mettle again of being consistently reliable composer by exuding out bunch of entertaining tracks that matches step-to-step with the hilarious feel of the flick. As expectations were low, the album has no rough patches and every track is filled with life and energy. Soundtracks like ''Jis Din'' (comical), ''Phir Se'' (romantic), ''Dil Le Jaa'' (enthralling) and ''Karle Mujhse Pyar'' (rocking) has the branding of Pritam's earlier hit numbers and are surely to be additive factor for the narration.